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Russian artist Dmitry Morozov has devised a way to make pollution beautiful. Dmitry Morozov

Where would the Impressionists have been without the invention of portable pigment tubes that enabled them to paint outdoors?  Who would take heard of Andy Warhol without silkscreen press? The truth is that technology has been providing artists with new ways to express themselves for a very long time.

Nonetheless, over the past few decades, art and tech have become more intertwined than e'er earlier, whether it'south through providing new ways to mix different types of media, allowing more human interaction or just making the procedure of creating it easier.

Example in signal is a evidence titled "Digital Revolution" that opened earlier this summer in London's Barbican Middle. The showroom, which runs through mid-September, includes a "Digital Archaeology" section which pays homage to gadgets and games that not that long ago dazzled usa with their innovation. (Yes, an original version of Pong is there, presented as lovable antiquity.) Only the evidence likewise features a wide multifariousness of digital artists who are using technology to push art in different directions, often to allow gallery visitors to appoint with information technology in a multi-dimensional mode.

Here are seven examples, some from "Digital Revolution," of how engineering science is reshaping what fine art is and how it's produced:

Kumbaya meets lasers

Let's start with lasers, the brush stroke of then much digital art. One of the more popular exhibits in the London show is called "Assemblance," and it'south designed to encourage visitors to create light structures and flooring drawings by moving through colored light amplification by stimulated emission of radiation beams and smoke. The inclination for most people is to work lonely, but the shapes they produce tend to be more fragile. If a person nearby bumps into their structure, for instance, it's likely to fall autonomously. But those who collaborate with others—fifty-fifty if it'due south through an human activity as simple as property hands—notice that the light structures they create are both more resilient and more than sophisticated. "Assemblance," says Usman Haque, one of the founders of Umbrellium, the London art collective that designed information technology, has a sand castle quality to it—like a rogue wave, one overly ambitious person can wreck everything.

And they never wet the carpeting

Another favorite at "Digital Revolution" is an experience called "Petting Zoo." Instead of rubbing beautiful goats and furry rabbits, you get to cozy up to snake-like tubes hanging from the ceiling. Doesn't audio like fun? But await, these are very responsive tubes, bending and moving and changing colors based on how they read your movements, sounds and touch on. They might pull back shyly if they sense a big grouping approaching or get all cuddly if you're being affectionate. And if you're only standing there, they may human action bored. The immersive artwork, developed by a pattern grouping chosen Minimaforms, is meant to provide a glimpse into the future, when robots or even artificial pets volition be able to read our moods and react in kind.

Now this is a work in progress

If Rising Colorspace, an abstruse artwork painted on the wall of a Berlin gallery, doesn't seem so fabulous at first glance, only give it a little time. Come back the next twenty-four hours and it will wait at least a little different. That's because the painting is e'er changing, cheers to a wall-climbing robot called a Vertwalker armed with a pigment pen and a software program instructing information technology to follow a certain pattern.

The creation of artists Julian Adenauer and Michael Haas, the Vertwalker—which looks like a flattened iRobot Roomba—is constantly overwriting its ain piece of work, cycling through viii colors as it glides up vertical walls for 2 to three hours at a time earlier information technology needs a battery change. "The process of creation is ideally countless," Haas explains.

The dazzler of dirty air

Morozov built a device, complete with a plastic nose, that uses sensors to gather pollution data. Dmitry Morozov

Give Russian artist Dmitry Morozov some credit—he'south devised a way to brand pollution beautiful, even if his purpose is to make us enlightened of how much is out in that location. First, he built a device, consummate with a little plastic nose, that uses sensors which can measure dust and other typical pollutants, including carbon monoxide, formaldehyde and methyl hydride. Then, he headed out to the streets of Moscow.

The sensors translate the data they gather into volts and a computing platform called Arduino translates those volts into shapes and colors, creating a picture show of pollution. Morozov's device then grabs still images from the movie and prints them out. As irony would take information technology, the dirtier the air, the brighter the image. Frazzle smoke can wait particularly vibrant.

Paper cuts you lot tin dear

Eric Standley, a professor at Virginia Tech, is one artist who doesn't utilise technology to make the creation process simpler. Actually, it's merely the contrary. He builds stained glass windows, but they're fabricated from paper precisely cut by a laser. He starts past drawing an intricate design, and then meticulously cuts out the many shapes that, when layered over one another, form a iii-D version of his drawing. One of his windows might contain equally many as 100 laser-cut sheets stacked together. Standley says the technology allows him to feel more, not less, connected to what he'south creating. As he explains in the video above, "Every efficiency that I gain through applied science, the void is immediately filled with the question, 'Can I brand it more complex?'"

And now, a moving lite bear witness

Information technology's one thing to project laser light onto a stationary wall or into a night sky, now pretty much standard fare at public outdoor celebrations. Only in an art projection titled "Light Echoes," digital media artist Aaron Koblin and interactive manager Ben Tricklebank executed the concept on a much larger scale. Ane night last year, a laser they mounted on a crane atop a moving railroad train projected images, topographical maps and even lines of poetry into the dark Southern California countryside. Those projections left visual "echoes" on the tracks and around the railroad train, which they captured through long-exposure photography.

Finding your inner bird

Hither'due south ane final take from the "Digital Revolution" show. An art installation developed by video creative person Chris Milk called "Treachery of the Sanctuary," it's meant to explore the creative process through interactions with digital birds. That'south correct, birds, and some are very angry. The installation is a giant triptych, and gallery visitors can stand up in front of each of the screens. In the kickoff, the person's shadow reflected on the screen disintegrates into a flock of birds. That, according to Milk, represents the moment of creative inspiration. In the second, the shadow is pecked away by virtual birds diving from to a higher place. That symbolizes critical response, he explains. In the third screen, things get better—you meet how you'd look with a majestic set of behemothic wings that flap every bit you motility. And that, says Milk, captures the instant when a artistic thought transforms into something larger than the original idea.

Art Installations

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Source: https://www.smithsonianmag.com/arts-culture/7-ways-technology-is-changing-how-art-is-made-180952472/

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